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Alfred Wierusz-Kowalski

Schlittenfahrt, 1890–1900, Öl auf Holz, 28 x 48 cm
©
Muzeum Okręgowe, Suwałki

Every morning in May 1910, Alfred Wierusz-Kowalski, an important representative of the Munich circle of Polish artists, regarded the cloudy skies over the city with suspicion. Many years after completing his monumental painting (5 x 10 metres), showing the dramatic scene of a pack of wolves attacking a family on a sleigh ride (Ill. 1), he decided to exhibit the work in public. The Old Town Hall where the picture was finally made accessible was also visited by members of the Prince Regent’s family. Prince Regent Luitpold, Prince Ludwig and Princess Gisela, who reviewed the work in the presence of its creator, were full of praise. But what was the use of such well-meant words when, as the artist wrote to his son: “there are only a few people to be seen in the exhibition. What bad luck must I have, that it is dark […], raining ceaselessly since the first day, as cold as it is in December, with the upshot that people are freezing and the room is yawningly empty despite all the advertising and attempts to attract the general public.”[31]

 

This was a painful experience for the artist, whose works had been highly regarded internationally since his first youthful attempts at painting. Despite the fact that this exhibition of his work failed to enjoy any success the artist’s creations still arouse worldwide interest.

 

[31] Alfred Wierusz-Kowalski to his son Czesław, München, May 1910. Instytut Sztuki PAN w Warszawie [the Art Institute of the Polish Academy of Sciences in Warsaw].

Mediathek Sorted

Media library
  • Fig. 1 Attack by wolves - Woodcut
  • Abb. 2 View of Suwałki seen from Augustów - Lithograph by Alojzy Misierowicz, Album Augustowskie
  • Abb. 3 Baptismal certificate of Alfred Jan Maksymilian Wierusz-Kowalski - Church of St Alexandra in Suwałki, 02.12.1849
  • Abb. 4 Alfred Wierusz-Kowalski - In Kalisz
  • Fig. 5 Post van in the city - Pencil on paper, 23.5 x 32 cm
  • Fig. 6 Alfred Wierusz-Kowalski - Portrait from the time in Dresden
  • Fig. 7 Girl with violets - Oil on canvas, 50 x 38 cm
  • Fig. 8 The return of the fundraiser - Oil on canvas, 42 x 65,8 cm
  • Fig. 9 Courtships - Oil on canvas, 50 x 42 cm
  • Fig. 10 On patrol - Watercolours, gouache on paper, 23.7 x 21.7 cm
  • Fig. 11 Horse riding in the park - Before 1880, oil on canvas, 30 x 54 cm
  • Fig. 12 Returning home from the market - Oil on canvas, 61 x 96 cm
  • Fig. 13 Travelling mishap - Oil on canvas, 56.5 x 101 cm
  • Fig. 14 Caucasian reconnaissance - Oil on canvas, 61 x 101 cm
  • Fig. 15 Rest of an insurgent - Oil on wood, 20 x 35 cm
  • Fig. 16 In his Munich studio - Portrait, between 1895-1905.
  • Fig. 17 Portrait of Jadwiga, the artist's wife - Alfred Wierusz-Kowalski, oil on canvas, 101 x 79 cm
  • Fig. 18 Alfred Wierusz-Kowalski's children Janina, Michalina and Czesław - Munich, photography by Studio Otto Reitmayer
  • Fig. 19 Bear hunting - Before 1889, oil on canvas, 102 x 73 cm
  • Fig. 20 Attack by wolves - Between 1885-1890, oil on canvas, 110 x 150 cm
  • Fig. 21 Sledge ride - Between 1890-1900, oil on wood, 28 x 48 cm
  • Fig. 22 Polish farmers' journey - Oil on canvas, 45 x 58.5 cm
  • Fig. 23 Horse-drawn carriage at a ford - Oil on canvas, 72 x 118 cm
  • Fig. 24 Miniature of Alfred Wierusz-Kowalski - Fragment of a fan painted on both sides by Munich artists, oil on wood, 57.8 x 32 cm
  • Fig. 25 Polish Post - After 1883, oil on canvas, 56 x 45 cm
  • Fig. 26 Wolves at night, 1890s XIXth century - Oil on canvas, 74.5 x 100 cm
  • Fig. 27 Holy Hein - Nach 1903, Öl auf Leinwand, 47 x 62 cm
  • Fig. 28 Alfred Wierusz-Kowalski's studio in Munich - 1889-1890, photograph

Alfred Wierusz-Kowalski
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Schlittenfahrt, 1890–1900, Öl auf Holz, 28 x 48 cm
Schlittenfahrt, 1890–1900, Öl auf Holz, 28 x 48 cm
©
Muzeum Okręgowe, Suwałki

Starting in 1883 Alfred Wierusz-Kowalski’s works were presented in most of the exhibitions that took place in Munich. His pictures also came to places like Paris, Vienna, Berlin, Brussels, Prague and the United States of America. Even in his early career he was a regular participant in exhibitions in Poland, especially in Kraków, Warsaw, Lviv and sporadically in other towns. By contrast his works were only seldom to be seen in Poland in the 1880s and 90s. Aggrieved by disparaging criticism and discouraged by a lack of sales interest he gave up trying to send his works there. Instead he collaborated with the best art salons in Munich: with the galleries Wimmer, Heinemann, Fleischmann and Hugo Helbing. All of these were young ambitious “enterprises” that presented exhibitions and published catalogues as well as having branches in European capitals and America. The collaboration guaranteed his artistic success.

Wierusz-Kowalski constantly promoted his artistic career. He developed his own style and supplied the market with popular motifs. In addition he worked for illustrated periodicals dedicated to social and artistic themes, which also printed woodcuts of his paintings. Publishing houses also printed photographs of his works in fine reproductions, various formats and large print runs. All the time he endeavoured to maintain a high social status, something that was necessary if he was to be given lucrative commissions. Even Prince Regent Luitpold purchased one of his pictures from a private collection of paintings.[26]

Alfred Wierusz-Kowalski was the recipient of many awards and honours. In 1883, on the occasion of an exhibition in the Glass Palace, he was awarded a medal for his picture Polish Post, which he completed in several versions (Ill. 25).[27] In 1892 he enjoyed a huge success with a gold medal for his painting Wilki. W lutym na Litwie (In February, Ill. 26).[28] The Neue Pinakothek, which had been given a portrait of the Minister Johann Freiherr von Lutz in 1889, purchased the prize-winning work.[29] In 1890 the artist was awarded the title of Honorary Professor at the Royal Academy of Fine Arts in Munich. In 1894 the Bavarian Ministry awarded him the Distinguished Service Cross of St Michael, fourth class. He also received medals and honours in Vienna, Lviv, Berlin and St Louis, as well as being invited to serve on juries in international art exhibitions in Munich and Berlin.

However, he was unable to maintain his successes in the course of time and failed to keep up with the changes in artistic developments. Worried by the dwindling interest in his work, in 1903 Alfred Wierusz-Kowalski set out on a brief trip to North America in search of new motifs and artistic inspiration (Ill. 27). That said, he did not succeed in fundamentally changing his artistic expression. During this time he completed a number of sketch-like pictures with abstract details and synthesised figures and objects. In doing so he turned to casual flat surfaces of colour, but such attempts failed to transcend the spirit of 19th century painting. His pictures continued to present galloping horses and processions of festively clad villagers on their way to church.

 

[26] Łosie na litewskich bagnach [Elk in Lithuanian Marshland], oil on canvas, 118 x 152 cm. See: Ausstellung der Gemälde aus der Privatgalerie weiland Seiner Königlichen Hoheit des Prinzregenten Luitpold von Bayern, Munich 1913.

[27] Polnische Post, post-1883, oil on canvas, 56 x 45 cm. Muzeum Okręgowe [district museum] in Suwałki.

[28] Wilki, 1890, oil on canvas, 74.5 x 100 cm. Muzeum Narodowe, Poznań [National Museum in Poznan].

[29] Minister fr. von Lutz na polowaniu na gemzy [Minister Freiherr von Lutz on a Gamsjagd], oil on canvas, 104 x 78 cm. The work disappeared for good aftet the Second World War.

 

Schlittenfahrt, 1890–1900, Öl auf Holz, 28 x 48 cm
©
Muzeum Okręgowe, Suwałki
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